Head to Head Review: ThermoGenesisHoldingsInc . (NASDAQ:THMO) vs. Misonix (NASDAQ:MSON)

ThermoGenesisHoldingsInc . (NASDAQ:THMO) and Misonix (NASDAQ:MSON) are both small-cap medical companies, but which is the better business? We will compare the two companies based on the strength of their risk, valuation, analyst recommendations, institutional ownership, profitability, dividends and earnings.

This table compares ThermoGenesisHoldingsInc . and Misonix’s net margins, return on equity and return on assets.

Net Margins Return on Equity Return on Assets
ThermoGenesisHoldingsInc . -89.98% -87.88% -32.96%
Misonix -7.33% -3.35% -2.53%

Volatility and Risk

ThermoGenesisHoldingsInc . has a beta of 1.06, meaning that its stock price is 6% more volatile than the S&P 500. Comparatively, Misonix has a beta of 0.3, meaning that its stock price is 70% less volatile than the S&P 500.

Valuation and Earnings

This table compares ThermoGenesisHoldingsInc . and Misonix’s top-line revenue, earnings per share (EPS) and valuation.

ThermoGenesisHoldingsInc . $9.67 million 0.95 -$39.72 million ($3.60) -0.90
Misonix $38.85 million 8.13 -$7.39 million N/A N/A

Misonix has higher revenue and earnings than ThermoGenesisHoldingsInc ..

Analyst Ratings

This is a breakdown of recent ratings and recommmendations for ThermoGenesisHoldingsInc . and Misonix, as reported by MarketBeat.com.

Sell Ratings Hold Ratings Buy Ratings Strong Buy Ratings Rating Score
ThermoGenesisHoldingsInc . 0 0 1 0 3.00
Misonix 0 0 2 0 3.00

ThermoGenesisHoldingsInc . presently has a consensus price target of $7.50, suggesting a potential upside of 130.77%. Misonix has a consensus price target of $28.50, suggesting a potential upside of 38.55%. Given ThermoGenesisHoldingsInc .’s higher possible upside, research analysts plainly believe ThermoGenesisHoldingsInc . is more favorable than Misonix.

Institutional and Insider Ownership

7.3% of ThermoGenesisHoldingsInc . shares are held by institutional investors. Comparatively, 28.8% of Misonix shares are held by institutional investors. 68.9% of ThermoGenesisHoldingsInc . shares are held by insiders. Comparatively, 27.9% of Misonix shares are held by insiders. Strong institutional ownership is an indication that hedge funds, large money managers and endowments believe a stock is poised for long-term growth.

Misonix beats ThermoGenesisHoldingsInc . on 8 of the 11 factors compared between the two stocks.

ThermoGenesisHoldingsInc . Company Profile

ThermoGenesis Holdings, Inc. develops, commercializes, and markets a range of automated technologies for cell-based therapies in the United States, China, rest of Asia, Europe, and internationally. The company operates through two segments, Clinical Development and Device. It offers AutoXpress System, an automated system for the isolation, collection and storage of hematopoietic stem cell concentrates derived from cord blood and peripheral blood; Point-of CareXpress System for the rapid, automated processing of autologous peripheral blood or bone marrow aspirate derived stem cells; CAR-TXpress System that addresses the critical unmet need for chemistry, manufacturing and controls improvement of the emerging CAR-T therapies for cancer patients; BioArchive Cryopreservation System, an automated, robotic, liquid nitrogen controlled-rate-freezing and cryogenic storage system for stem cell samples and clinical products; and manual disposables. The company is also developing autologous stem cell-based therapeutics that address medical needs for applications in the vascular, cardiology, and orthopedic markets. The company was formerly known as Cesca Therapeutics Inc. and changed its name to ThermoGenesis Holdings, Inc. in November 2019. ThermoGenesis Holdings, Inc. was founded in 1986 and is headquartered in Rancho Cordova, California.

Misonix Company Profile

Misonix, Inc., together with its subsidiaries, designs, develops, manufactures, and markets therapeutic ultrasonic medical devices in the United States, the Americas, Europe, Middle East, Asia Pacific, Africa, and internationally. The company offers BoneScalpel, an ultrasonic bone cutting and sculpting system for surgical procedures involving the precise cutting of bone while sparing soft tissue; SonaStar, a surgical aspirator that is used to emulsify and remove soft and hard tumors primarily in the neuro and general surgery field; and SonicOne, an ultrasonic cleansing and debridement system, which provides tissue specific debridement and cleansing of wounds and burns for the removal of devitalized tissue and fibrin deposits while sparing viable cells. Its products are used in various clinical specialties, such as neurosurgery, orthopedic surgery, plastic surgery, wound care, and maxillo-facial surgical applications. The company sells its products through sales representatives and distributors. Misonix, Inc. was founded in 1959 and is based in Farmingdale, New York.

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chapter  1
12 Pages

The case for new pedagogies in engineering education

WithMorgan Rhys

What do engineers do? Why do we need engineers? These questions are examined through the challenges for engineering in the 21st century and looking at the past and future of engineering education.

The 20th century saw some of the greatest engineering achievements that humankind has created, and these have arguably improved virtually every single aspect of human life. The new century no doubt holds as many challenges as those in the past and as the world population continues to grow, the challenge of sustaining civilization’s continuing advancement, while maintaining or continuing to improve the quality of life for the expanding global population will become ever more pressing.

With these challenges in mind, new degree programmes are being developed and momentum continues to build as more young people beginning their engineering careers recognize the role that engineering provides to society and people, and the need for a global mindset for working and engaging with engineers anywhere in the world in the 21st century.

In 2014, the Royal Academy of Engineering gathered a group of engineers, academics, and educators to explore professional traits that are common to engineers. At the core of the engineering mindset is the determination to ‘make things work’ or ‘make them work better.’ In order to achieve the ‘make’ outcome, there are a series of supporting habits of mind. They do not exist in any particular order, but a natural pattern based around the engineering design process does begin to emerge.

The first habit is problem identification. Engineers need to be able to articulate and specify a problem to arrive at a solution.

The second engineering habit of mind is creative problem solving. The third engineering habit of mind is visualization. Visualizing is a key component of the engineer’s skill set and it builds in sophistication during the lifecycle of an engineering project – from 2D sketches to 3D CAD, to physical models and functional prototypes.

Adapting is a further trait exhibited by engineers, who will apply solutions from different contexts, rather than developing solutions from first principles each time. It is the application of ideas and knowledge which is a key attribute of engineers. Improving and a relentless drive to make products better is another attribute of engineers.

Systems thinking is the final trait of engineers, who recognize that their work is only a subset of a larger system and that their designs and solutions may have unintended consequences on the wider system. The iterative improvement cycle therefore plays a key role in the systems approach. The development of the Engineering Habits of Mind in young people, from school age onwards, may help them to understand the role of engineers better and also give them the confidence and the self-efficacy to take on engineering challenges themselves.

In practice, a motivated person with access to a good library has always had the capability to study and achieve knowledge up to degree level in many subjects, and there are many examples of self-taught people achieving considerable eminence. This includes some academics that have moved into fields substantially different from their first qualification. By careful reading and increasingly by use of resources such as videos on the Internet, individuals can gain a good knowledge of many humanities and science fields, and perhaps even a fairly deep understanding. However, it is the general practice that degrees in science and engineering include some practical work in laboratories.

Engineering is about doing, not passive receipt of knowledge or the process of finding out about science, and engineering students should be ‘doing’ as much as possible during their degrees. This goes along with the current the view of active learning and also the initiatives of Education for Capability and CDIO (the initiative in engineering proposing Conceive, Design, Implement, and Operate).

Classical science-based teaching promoting formal derivations and learning of ‘right’ answers needs to move to methods more aligned with design and creation, including work that is literally ‘hands-on.’ Part of this ‘doing’ can only be achieved by students being physically present, and much else can be better done if they are. Failure to do this will lead to graduates unprepared for industry, and may lead to the students moving to universities which are deemed more satisfactory by employers.

While learning technologies can and should be used, they do not of themselves achieve education, which depends on recognizing the objectives and understanding the processes needed. These must be the ones which are appropriate to the subject, not those suited to arts degrees. Forming effective work habits and solving problems are possibly as important as the syllabus.

Traditional universities with engineering need to move (carefully) away from the traditional model of passive lectures as the main activity and the emphasis on science. In order to be attractive to students and effective in producing engineering graduates, as much practical work as possible should be done, and this must be for every student, not just a favoured few. This should be accompanied by as much design work as possible, with students in teams or groups, and with the basic theory and mathematics immediately recognized by the students as support, not a separate chore. New buildings should be considered as a means to facilitate practical and project work, and this could give immense advantages if done well.


Consider how many things are born from the forces of nature. Wind, rain, sun, and fire. It’s the concentration of energy in one direction. Fire burns with intensity for as long as the fuel lasts. When the fuel is gone there is smoke. When the smoke is gone there are burning embers. When the embers … Leap ForwardFire


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7 Dec 2017

no.8// Twin Peaks the Musical!

This is one of my ten short essays about Twin Peaks Season 3. Click this link to read my introduction to this series.

At the Roadhouse, every night is Twin Peaks night. The dream fades, the band rematerialises, the episode draws to a close, and Lynch turns the camera on us for the final few minutes. Our faces are still fixed on the stage, still glued to the screen with reverent patience, waiting for one more clue before the final credits roll. The fans at home convene with the fans in the crowd, sharing in this tribute, this séance, this 18-hour vigil, this wake for a beloved television series.

The Roadhouse is a portal to Twin Peaks. This is common knowledge. That’s why the hipsters gather there, night after night, to pay tribute. That’s why the artists make the pilgrimage, with their reverb pedals and their bewitched voices and their vintage pouts. They are summoned to the Roadhouse, just like the motley ensemble that Cooper summons decades before, for the revelation of Laura’s murderer. They gather and they wait for something to happen: for the Giant to appear, or Cooper, or Audrey.

In his Pitchfork article about the music of Twin Peaks 3, Daniel Dylan Wray attempts to articulate the role of the Roadhouse performances that end almost every episode:
The scenes, and the music within them, are used as a guide back toward something resembling reality, a reassuring embrace of the familiar following the rest of the show’s deeply disturbing and bizarre images. […] [O]nce you’re in the Roadhouse, you know you’re safe—relatively speaking, at least.
Wray recognises the Roadhouse’s liminality, as a gateway or antechamber between two worlds. He too suggests that the punters in the Roadhouse are somehow closer to ‘reality’ (closer to us) than the characters whose meandering ‘stories’ their appearance punctuates. But Wray’s gloss is ultimately unsatisfactory, begging more questions than it answers: How is music supposed to guide us back to reality? Beyond the superficial ‘familiarity’ that a music writer might feel when faced with ‘real-life’ musicians ‘playing themselves’, what is so ‘reassuring’, ‘safe’ or ‘real’ about musical performance? And why would a fictional text even want to ‘guide its viewers back to reality’ in the first place?

Addressing these questions means turning our attention to Lynch the musicologist. Over the past few decades, the director has set out a unique psychosocial theory of music, subtly but powerfully articulated through the presentation of cinematic worlds. Lynchian worlds are almost always more ‘open’ to musical and sonic possibility than other cinematic worlds. The membrane between the fictional realm and the soundtrack that ‘accompanies’ it is more permeable; with their precarity and fluidity, these worlds are somehow ‘closer’ to an autonomous sonic realm. As boundaries collapse and identities blur, Lynch allows musical worlds to materialise onscreen.

Lynchian worlds are musical worlds. Like Mulholland Drive, Lost Highway and Blue Velvet, Twin Peaks is a musical.

But what kind of musical is Twin Peaks? To sketch a crude typology, we might identity two general modes of musical (although most musicals combine these two modes). In the first mode, ‘music’ doesn’t exist as such; it appears within the world of the musical as something other than itself (e.g., intense emotion, inner truthfulness, self-conscious performativity, the unreal logic of a dream or drug trip, etc.). In the second mode, ‘music’ exists but it is represented as having a magical extra-sonic ‘surplus’ (of efficacy, persuasion, seduction, truthfulness, ‘rightness’, etc.). Musicals of this second type are also always musicological texts, or more precisely, they are musical ethnographies. The world that they present involves an ideal identification with a particular musical culture, representing as tangible the ‘powers’ that this culture ascribes to music. Thus, the world of a rock musical might realise the potency, subversiveness and liberatory qualities that rock fans believe their music to possess. (For more on all this, check out my essay, 'Logics of Musical Worlds'.)

Twin Peaks is a musical of the second type (where music appears in its world, it appears as music), and yet there are a couple of factors that complicate the picture. Firstly, the relative absence of narrativity in the series (and particularly in the Roadhouse scenes) obscures the particular function, power or necessity of this music. Secondly, as with most of Lynch’s ‘musicals’, there is a critical/deconstructive edge to his representation of musical magic. Unlike most musical heroes, Lynch’s protagonists aren’t musical ‘initiates’; they cannot ‘wield’ music as a tool to help them through their world. With the interesting exception of Fred in Lost Highway (and maybe Audrey in Twin Peaks, although this musicality distances her from Cooper and the audience), music is something used on and against the protagonists (and, by extension, the audience).

This makes Lynch’s musicals rather unusual, in that they are oriented around the listener rather than the producer (i.e., the position from which the vast majority of musical encounters are experienced in the ‘real world’). While many ‘musical ethnographies’ are essentially didactic—teaching the audience what music ‘is’, and thus how to listen to music—Lynch’s ‘ethnographies’ are more phenomenological in nature. Instead of showing us what music can do within a musical world, these texts consider what it means to encounter a musical world—how these ideologies of musical possibility intersect with ‘real’ phenomena—and what these encounters have to say about reality, fantasy, and the mutuality of these categories. Crucial to this project is, of course, the sheer instability of Lynchian worlds, whose logics are always incomplete and vulnerable to collapse. The resulting chaos of partial, mutually antagonistic worlds is an excellent reflection of the way in which music functions ‘in reality’.

While there is much to be written on the topic of Lynchian musicology, I will limit my present discussion to two dimensions of musical ‘power’ at work in Twin Peaks 3, and the ways in which these contribute to its critical musical ethnography.

In my previous essay, I wrote about Twin Peaks 3 in terms of televisual performance art, and its deployment of a language of gesture (physical, vocal, linguistic, musical, visual, narrative, etc.). Live musical performance can be viewed as the performance of an idealised discourse of gesture. As a practice, it combines a number of distinct gestural vocabularies to give a performance of direct and spontaneous expression, abstracted from purposive (speech) action and yet suggestive of a more perfect communication than could be achieved with language alone. From the perspective of the listener, musical comprehension is experienced as intuitive, as understood directly, affectively and bodily, without the need for a translator.

Nevertheless, the impression of a perfect and spontaneous expressivity/communication within live musical performance requires both the performer and the listener to forget the fact of ‘the song’ (i.e., the fact that this ‘communication’ is only possible within a preplanned, artificially structured and autonomous region of space-time). As initiates of a listening culture, we have learned how to extract meaning and value from genred music, but as a live musical audience, we have also learned to forget this education, just as we ignore the distance between the song world and the real world. Tuning into the songworld, we surrender ourselves to the fantasy and allow its logic to structure our real, material sensations of intensity and pleasure.

In this way, the musical performances onstage at the Roadhouse are precisely analogous to my characterisation (in the last essay) of Twin Peaks 3 as an ‘exhibition’ in which interpretative strategies are pre-determined: an exhibition governed by a totalitarian curator-mediator, who forces you to look for a certain kind of meaning in each sign, even as that meaning is ultimately withheld. The possibility of meaning is similarly withheld in music: our culture tends to understand ‘live musical performance’ as a kind of pure doing, while the experience of music itself is as a flow of pure affect within the listener. There remains a mystical gap between these two processes, even as the ritual of live music keeps them bound together.

The Roadhouse performances thus distill the dynamics that regulate the show as a whole. In the past (most notably in Mulholland Drive) Lynch’s musical scenes have demystified this gap, exposing the disconnect between mimed performance and acousmatic sound, and the fantasy that synchronisation enables. Similarly, by juxtaposing the perfectly smooth ‘communication’ of the live music with the elusive, frustratingly deferred ‘communication’ of the show as a whole, we are made conscious of the contingency of the logics that structure our fantasies. At the same time, we are also aware of the meaninglessness of these performances: not only their apparent arbitrariness with respect to the rest of the show, but also the unproblematic incoherence of gestural ‘language’ within the song world in which the value/significance of these gestures is realised. While Daniel Dylan Wray might consider this reassuring—our partial return to a world in which we don’t have to worry about things not making sense—it could also be perceived as troubling: evidence of the ease with which we too can be seduced by fantasies that, like pop songs, don't really make sense (i.e., the relation between their ‘sense’ and that of ‘reality’ is obscure).

This leads me to the second dimension of musical power that music represents in Twin Peaks 3. This is the power of music and sound to ‘suture’ fragmented, incoherent and illogical phenomena, in order to present the cogency of such a world as affective fact, rather than something to deduce. I have previously argued that the experience of music is predicated upon a process of ‘dramaturgical listening’: sounds are distributed within an imagined ‘world’, as elements within an assumed totality to which they all belong. (Any sounds that don’t ‘belong’ are experienced as background noise or interference.) Thus the requirements of logic and cogency that are intrinsic to any notion of ‘world’ are also intrinsic to music’s being. In the construction of a (fictional) musical world—as occurs with any live musical performance, not least the representation of live music onscreen—this logic and cogency is ‘realised’ within this world. Thus, music is analogous to any other imaginary structure or discourse whereby the chaotic Real is given order and elements are distributed according to a deducible logic. The only difference is that, with music, we don’t need to deduce a constitutive logic because we can already feel its efficacy. This is the key to music’s ‘magic’ qualities when it appears in a musical world.

This is also the reason that audiences can tolerate a high degree of narrative and visual inconsistency in music video. Since the space-time of these cinematic worlds correlates very precisely to that of a song world, any volatile or fragmentary elements are easily sutured to the totality imagined by the song. It is my suspicion that mainstream audiences’ comparatively high tolerance for Lynch’s aesthetic idiosyncrasies has a lot to do with the ‘musicality’ of his work, in conjunction with our familiarity with music video.

As a result of this quasi-‘reification’ of ideology through music, Lynch’s musicals can attempt to represent fantasy from an exterior position, and thus deconstruct the phenomenological category of ‘world’ in a manner that is not possible in ‘naturalistic’ cinema (since such an ‘exterior’ position is not possible in human experience). His protagonists frequently brush up against the edges of their worlds, sensing the terrifying void that lies just beyond. These characters may also encounter other self-contained worlds in the form of enclosed musical moments, whose interior perfection is total yet impenetrable. What Betty and Rita witness in Mulholland Drive’s Club Silencio is a conjuring of musical worlds as bubbles of pure fantasy. As these bubbles are burst (‘There is no orchestra!’), Betty and Rita weep not only for the lost perfection of these illusions (and for their own fragile bubble), but also for their inability to escape such all-consuming fantasies. When Rebekah del Rio comes onstage, singing a cappella, we imagine that she (unlike the trumpeter before her) is actually singing: a master of her own musical world. Yet this too is a recording, something that both transcends her and contains her, even as it demands her total commitment and leads to her exhaustion and collapse.

As I wrote a while back, the original Twin Peaks was a town slumbering under a musical enchantment. Over the past 25 years, the music has drained out of this world, collecting in a pool at the end of each episode. The show is no longer sutured by Badalamenti’s irresistible soundtrack and the ever-present, evanescent voice of Julee Cruise. (Listen carefully and all you can hear is a strange ringing tone, coming from somewhere in the Great Northern Hotel.) Even within the Roadhouse, there are interiors and exteriors. While Cruise’s ‘The World Spins’ would once have reduced the whole audience to tears, now the characters in the booths, absorbed in their own impenetrable worlds of intrigue, cast wary glances at the swaying crowd.

The Roadhouse performances not only taunt and entice us with the image of a perfect gestural language, independent of meaning. They also let us glimpse the kind of enclosed, internally consistent and untroubled fantasy worlds that the rest of the show denies us. Furthermore, unlike in Club Silencio, these bubbles never burst. Thus, Wray is correct when he identifies these moments as reassuring. This reassurance does not, however, stem from an awakening into reality, but rather from a return to pure fantasy: to fall asleep, and dream, and forget that you’re dreaming.


Thou Parsec

How many Parsecs are in 10 You?

People do ask questions such as 10 You are equal to how many Parsecs? The answer is 10 You are equal to 8.101948175013488e-21 Parsecs. You can also Convert 11 You to Parsec

How to Convert 10 You to Parsecs (thou to parsec)

We are going to use very simple Thou to Parsec conversion formula for that. By using our Thou to Parsec conversion tool, you know that one Thou is equivalent to 8.101948175013489e-22 Parsec. Hence, to convert Thou to Parsec, we just need to multiply the number by 8.101948175013489e-22. Pleas see the calculation example given below.

Convert 10 Thou to Parsec 10 Thou = 10 × 8.101948175013489e-22 = 8.101948175013488e-21 Parsec

What is Thou Unit of Measure?

Thou is a unit of measurement for length. It is also known as mil and is equal to one thousandth of an inch.

What is Parsec Unit of Measure?

Parsec is a unit of measurement for length. Parsec is used to measure large distances to astronomical objects which are outside the solar system. One parsec is equal to 30856776000000 kilometers.

Thou to Parsec Conversion Chart
Thou [thou] Parsec [parsec]
1 8.101948175013489e-22
2 1.6203896350026977e-21
3 2.4305844525040467e-21
4 3.2407792700053954e-21
5 4.050974087506744e-21
6 4.861168905008093e-21
7 5.671363722509442e-21
8 6.481558540010791e-21
9 7.29175335751214e-21
10 8.101948175013488e-21
100 8.101948175013488e-20
1000 8.101948175013488e-19
Thou to Other Units Conversion Chart
Thou [thou] Output
10 Thou in Angstrom equals to 2500000
10 Thou in Astronomical Unit equals to 1.6515638031635938e-15
10 Thou in Attometer equals to 250000000000000
10 Thou in Barleycorn equals to 0.029526396598559112
10 Thou in Cable equals to 0.0000013670166229221349
10 Thou in Chain equals to 0.000012427423844746679
10 Thou in Centimeter equals to 0.025
10 Thou in Cubit equals to 0.00054680665
10 Thou in Decimeter equals to 0.0025
10 Thou in Digit equals to 0.013123359499999999
10 Thou in Dekameter equals to 0.000025
10 Thou in Ell equals to 0.00021872265966754156
10 Thou in Em equals to 0.05905976848570754
10 Thou in Fathom equals to 0.00013670166229221348
10 Thou in Foot equals to 0.0008202099737532808
10 Thou in Furlong equals to 0.000001242742384474668
10 Thou in Gigameter equals to 2.5e-13
10 Thou in Hand equals to 0.0024606299212598425
10 Thou in Hectometer equals to 0.0000025
10 Thou in Inch equals to 0.00984251968503937
10 Thou in League equals to 5.17808286525e-8
10 Thou in Light Year equals to 2.64250208506175e-20
10 Thou in Line equals to 0.118108376245
10 Thou in Link equals to 0.0012427423844746678
10 Thou in Kilometer equals to 2.5e-7
10 Thou in Meter equals to 0.00025
10 Thou in Megameter equals to 2.5e-10
10 Thou in Mile equals to 1.553427980593335e-7
10 Thou in Mil equals to 9.84
10 Thou in Microinch equals to 9842.52
10 Thou in Micrometer equals to 250
10 Thou in Millimeter equals to 0.25
10 Thou in Nautical League equals to 4.4996400287976964e-8
10 Thou in Parsec equals to 8.101948175013488e-21
10 Thou in Picometer equals to 250000000
10 Thou in Nanometer equals to 250000
10 Thou in Nautical Mile equals to 1.349892008639309e-7
10 Thou in Palm equals to 0.00328084
10 Thou in Perch equals to 0.000049709695379999996
10 Thou in Petameter equals to 2.5e-19
10 Thou in Pica equals to 0.059055118000000004
10 Thou in Point equals to 0.7086614175
10 Thou in Pole equals to 0.0000497096955
10 Thou in Rod equals to 0.00004970959653703067
10 Thou in Rope equals to 0.000041010499999999996
10 Thou in Scandinavian Mile equals to 2.5e-8
10 Thou in Span equals to 0.0010936133
10 Thou in Terameter equals to 2.5e-16
10 Thou in Yard equals to 0.00027340332458442696
Convert Thou to Other Length Units


KnowNow Cities for Developers & Owners

KnowNowCities LogoKnowNow Cities consistently strives to deliver smart places that meet the spirit of the five key Smart City Ingredients that KnowNow Cities has identified that are core to a smart place.  Be that a building, a campus, a district or even a whole city.

KnowNow Cities consulting provides for developers a service that dovetails with their existing process’ and approach to projects.  KnowNow Cities have mapped the demands that a smart city technology infrastructure project requires into the RIBA Plan of Work.

What can you expect

This depends on when KnowNow Cities are engaged on a project.  Ideally as early as possible.   The advice KnowNow Cities gives clients is to consider our services when seeking advice on how a building, place or district want to use technology.  KnowNow can participate throughout the project lifecycle from concept phase through to fit out and beyond.

KnowNow Cities can help developers identify firstly what does being ‘smart’ really mean.  How does this being ‘smart’ then equate to your vision of how a place will be lived and worked in?  What does this then look like in terms of technology and digital stuff?  This answers key questions such as:   So what types of network connectivity is required where; what will then be connected to these networks; and what type of thing will this then do or enable for whom.

Principles Are Important

An important part of any smart city technology engagement is to understand the ‘principles’ of a place.  The owner/developer needs to shape these principles and lead the team that will scrutinise the technology plans.  Once these principles are agreed, alongside the previously determined building blocks the beginnings of an enterprise architecture for that place can now be formed.

Standards Even More So

The backstop for any smart city is adherence to standards.  An important early phase is to clarify which standards are applicable to the principles that place has defined.  A starting point for KnowNow Cities is the BSI Smart City Standards.,

Where to Start

The starting point as with any engineering project are your requirements.   KnowNow Cities deciphers the your vision for a development and sets of requirements into tangible information technology components that can then be procured.

The next phase once those technology components are understood is to work out which ones go first.  Which are next and which are put on the future to do list.

Where Next?

The next step is to capture and understand your  vision for how that place should operate once the development is complete.   Where is the investment, what are the success factors and what are the outcomes that place wants to achieve (e.g. good air quality and economic activity).

Note:  What is important is that technology aids urban design it should not lead urban design.

Building Blocks

This phase identifies and prioritises the various technology building blocks that will be required.  This is at a very high level.  Identifying where common requirements exist, where requirements clash and where stakeholder agreements are common and where stress or tension needs to be resolved.   This could be for example in requiring access to certain types of data.

Iterative Process

Creating a technology deployment blueprint and roadmap for a place is an iterative process.   This starts with client and stakeholder interviews.  Or harvesting existing output from earlier documented conversations.

The final part of this first phase is to gain agreement on the principles and standards of the smart city project and establish the governance mechanism for future architectural review and change management.

The first phase will typically take between 2 to 12 weeks to complete depending on the maturity of the information already available and the quality of stakeholder engagement.

Creating your Blueprint

The second phase of the engagement is the creation of the actual concept technology architectures for that place.   KnowNow Cities use Enterprise Architecture methods and techniques to describe the

The starting point is to categorise the various different common requirements into common system descriptions.  The aim is to describe components or services in sufficient detail that could then be procured.

One of the iterative aspects of this phase is making the decision as to whether it is a product or a service that is to be procured.  Partly this is a reflection on current market trends/offers as well as technology capabilities to deliver.. e.g. clouds.

In terms of likely effort this depends on the number of categories that have been identified.  A rule of thumb is that each business process/area of outcome (set of use cases working together) will take between 5 days to 40+ days to fully solution.    This will be an iterative process.

Note:  What is important to recognise in a smart city is the interdependency and interoperability that is required drives complexity.  A change in one component has a knock on impact for other components.

What to do with your Blueprint?

Once your smart place Technology Infrastructure Blueprint is created it can then be added to the standard build plan for that project/programme/development.    It is essential the technology infrastructure is deployed during a new build at the most opportune time.  This will maximise return on investment – for example when laying out the civil engineering infrastructure ensuring suitable ducting and space allocation is provided will be more cost effective if done right first time at the start of the build

KnowNow Cities  can provide a number of different perspectives and views.   These could be roadmaps and Kanbans.

The blueprint will give the you confidence as the developer that the foundation technology infrastructure deployed will meet the your vision yet not break the bank.  This relates to a key KnowNow Cities principle which is to: “Design for Tomorrow but Deliver for Today”.

Not all places are born smart..

Smart Places are not always new builds.  Most smart city developments will be a retrofit.  A benefit of the KnowNow Cities approach is that the same techniques can create a survey of the existing technology infrastructure in a place as one of the 1st deliverables.  Then by understanding the new services and technology infrastructure to be deployed it is possible to create a change impact assessment that a new smart place will have on the existing technology infrastructure.    This can help de-risk projects, secure planning permission or highlight where further investment is required thus guaranteeing the your vision can be met.

An impact assessment and survey is a 5 day to multi-week engagement depending on the size of the place being surveyed and the requirements being assessed.

How do I work with KnowNow Cities

KnowNow Cities welcomes the opportunity to work with developers or owners on new or existing smart city projects.

KnowNow Cities has a flexible engagement approach.  Be it on a retainer, by project or on a day-rate.  We offer competitive rates, are liability insured and are members of the City Standards Institute.

Contact us via an email –


The basic method of operation angle cutting machine

2019-05-09 11:44:01

One, operation time focus, strictly abide by the equipment operation procedure, to guarantee the operation safety.

Two, adjust the equipment before the first cut off the power supply.

Three, on the basis of scale demand commodity specification, adjust, adjust to use special tools, be careful, Caution.

Four, before the operation, feeder to adjust to the same line and parallel to the shaft and operation. According to the cutting board width, determined by plate and two slotted wheel, and each indentation roller bearing.

Five, device thin knife, to compaction. Ensure that the blade curvature and slotted wheel radian together, the pressure plate screw.

Six, adjust the bottom shaft knife, avoid excessive pressure. The blade and the cardboard touch after quietly intercept prevail. Micro adjustment, avoid to damage the knife and blade. After adjustment for, no special circumstances need not move again.

Seven, before the start, the eradication of all items of equipment, check the fastener Is it right? Loose, the tension of chain Is it right? Moderate. Then the manual barring device view, knife and pressure feeding indentation roller Is it right? Suitable. No doubt after the unit staff with a good reception, ready to boot.

Eight, boot, to ensure that the oil level appropriate after exposure, the engine, low speed operation. Investigation of abnormal Is it right? Transformation. After each drive some completely smooth, and machine shift anomaly free movement, and then progress operation speed. Trouble immediately stop to repair.

Nine, before production, to pre trial production. After viewing a commodity, admitted to meet the demand, can be formally production. Production process, take note of the investigation. A similar trial production process, every five minutes once. That question immediately stop adjustment.

Ten, often see Is it right? Wear or does not meet the requirements of each component, if in doubt, timely repair or replacement.

Eleven, pay attention to the machine maintenance and smooth. 1 to ensure the oil tank oil level, and often drip. 2 feeder transmission block in each class of filling a 3 connecting gear often gas smooth. The first half of a work bearing repair to one year. Filled with calcium base grease.

Twelve, the shaft to keep clean, regular oil scrub.

Thirteen, production is completed, according to the rules of procedure for shutdown. Cut off the power supply.

Web site:


Facebook and the Future

Facebook has championed conversation and community. But Facebook advertising tools to flood Americans with misinformation and hate…

Is Facebook a threat for publishers and readers?

Social media platforms are shadowing journalism, creating imminent threats for publishers and readers. This takeover has mainly gone unnoticed and unchecked in the public sphere. The news ecosystem has changed more dramatically in the past five years than perhaps at any time in the past 500. Chat apps, news bots, virtual reality, video streaming and messaging have changed the way people receive and interact with the news.


Adam and the Genome 3948

Article number: 9781587433948
Availability: In stock (1)

enomic science indicates that humans descend not from an individual pair but from a large population. What does this mean for the basic claim of many Christians: that humans descend from Adam and Eve?
Leading evangelical geneticist Dennis Venema and popular New Testament scholar Scot McKnight combine their expertise to offer informed guidance and answers to questions pertaining to evolution, genomic science, and the historical Adam. Some of the questions they explore include:

- Is there credible evidence for evolution?
- Do we descend from a population or are we the offspring of Adam and Eve?
- Does taking the Bible seriously mean rejecting recent genomic science?
- How do Genesis's creation stories reflect their ancient Near Eastern context, and how did Judaism understand the Adam and Eve of Genesis?
- Doesn't Paul's use of Adam in the New Testament prove that Adam was a historical individual?

The authors address up-to-date genomics data with expert commentary from both genetic and theological perspectives, showing that genome research and Scripture are not irreconcilable. Foreword by Tremper Longman III and afterword by Daniel Harrell.

0 stars based on 0 reviews


The pressure of air at high altitude is less than the atmospheric pressure at the sea level. Hence the boning point of water at a hill top

A. is more than at sea level

B. is equal to that sea level

C. is less than at sea level

D. depends on the surrounding temperature

You can do it
  1. The stem of a vibrating tuning fork is pressed against a sound box. Then
  3. How is it that Pluto is not always the farthest planet of the solar system?
  4. The SI unit of electric current is
  5. Which of the following is not electromagnetic waves?
  6. Like magnetic poles
  7. The scientist who first sent electromagnetic waves to distant places was
  9. The number of galaxies that are visible without telescope on clear dark nights and away from bright…
  10. The pressure of air at high altitude is less than the atmospheric pressure at the sea level. Hence the…
  11. Solar radiation is preferred to other sources of energy because
  12. Hot water is poured simultaneously in four metallic tumblers painted outside with different paints.…
  13. Which of the following apparatus is used in the electrolysis of water?
  14. The strength of an electromagnet can be increased by
  15. A proton is
  16. The direction of heat flow between two objects depends on
  17. While crossing a suspension bridge, the soldiers are ordered to break steps because
  18. In the visible spectrum which colour has the shortest wavelength?
  19. Air escaping rapidly from a narrow orifice in an inflated tyre feels cool because
  20. The completely dark portion of a shadow of an object is known as
  21. The transistor was invented by
  22. The sun continuously produces an enormous amount of energy. This la due to
  23. In an electrical circuit, a fuse is connected
  24. Of the following types of electromagnetic radiation which has the longest wavelength?
  25. Which physical quantity is measured in watts
  26. The attraction between similar molecules is called
  27. Cosmic rays are
  28. The hydraulic jack to lift heavy vehicles in automobile service stations is one of the applications…
  29. The line on earth's surface passing through the places having zero dip is called the magnetic equator.…
  30. The hygrometer is an apparatus used for finding the


South Korea Embarks on a Museum Building Boom, Aiming to Open 186 New Museums by 2023

25 Junio 2019, Korea, Rep

Is South Korea angling to become an international cultural hub? The Asian nation has unveiled a five-year plan designed to make its art and artifacts more accessible to the public, with its Ministry of Culture, Sports, and Tourism announcing an ambitious goal of opening an additional 186 museums by 2023.


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Physical Therapist - Full Time Job in Avon, Ohio US

Physical Therapist - Full Time

Kindred Healthcare Operating, Inc. - Avon, OH

Posted: 11/7/2019 - Expires: 2/5/2020

Job ID: 213599459

Job Description

Physical Therapist - Full Time  (374163-6793 )

UH Avon Rehabilitation Hospital is a joint venture between University Hospitals and Kindred Healthcare, bringing together the expertise of both world-class organizations. Opened in January 2016, UH Avon Rehabilitation Hospital is focused on improving the functional status of our patients after an injury or illness with the goal of returning our patients home safely.

Our Mission:

To improve the health, function and quality of life of the people in the communities we serve.

Our Vision:

To be the rehabilitation provider of choice, by providing high-quality care resulting in excellent outcomes and high patient satisfaction.

Job Summary:

The Physical Therapist (PT) assumes responsibility and accountability for a designated group of patients and provides physical therapy evaluations, modalities and treatments in accordance with established hospital and departmental policies and procedures, maintaining the highest degree of quality patient care.  Assists patients to reach their maximum performance and level of functioning, while learning to live within the limits of their capabilities.

physical therapist, physical therapy, physical therapy assistant, physical therapist therapy, physical therapy aide, home health physical therapist, Acute care, ADL, ADLs, ALF, Balance dysfunction, case management, case manager, clinical, clinic, clinical rotation, geriatric, geriatrics, Healthcare, health care, Homecare, home care, home health, homehealth, hospital, inpatient, inpatient PT, inpatient P.T., inpatient physical therapist, inpatient therapist, licensed therapist, licensed PT, licensed P.T., licensed physical therapist, modalities, neuro, neurological, ortho, ortho PT, ortho P.T., ortho therapist, ortho physical therapist, orthopedics, orthopedic, orthopedic PT, orthopedic P.T., orthopedic physical therapist, PT, P.T., physical therapist, physical therapy, DPT, doctorate PT, doctorate P.T., doctorate physical therapist, medical, medical care, therapist, therapy Care Manager, therapy case manager, therapy case management, therapy Job, therapy Jobs, PT job, PT jobs, P.T. job, P.T. jobs, physical therapy job, physical therapy jobs, physical therapist job, physical therapist jobs, Oasis, outpatient, outpatient clinic, out patient, outpatient rehab, outpatient PT, outpatient P.T., outpatient therapist, outpatient physical therapy, outpatient physical therapist, PRN, PDM, rehab, rehab PT, rehab P.T., rehab physical therapist, rehab setting, rehabilitative, therapeutic, safe strides, safe strides PT, safe strides P.T., safe strides physical therapist, skilled visit, SNF, sports med, sports medicine, sports med therapist, sports med physical therapist, sports medical physical therapist, subacute, sub acute, post acute, therapy, travel PT, travel P.T., travel therapist, travel physical therapist, traveling PT, traveling P.T., traveling physical therapist, rehabilitation services, rehabcare, hospital rehabilitation services, inpatient rehabilitation services, skilled rehabilitation services, IRF, HRS, SRS, RHC, RHB

Current licensure as a Physical Therapist in the state.
Current Basic Life Support/CPR Card.

 Tuesday-Saturday schedule

Job Summary

Employment Type:
Full Time Employee
Job type:
Federal Contractor
Skill Based Partner:
Education Level:
Doctoral degree
Work Days:
Mon, Tue, Wed, Thu, Fri
Job Reference Code
Licenses / Certifications:
Display Recommended WorkKeys®Recommended WorkKeys®:


Disclaimer of Liability

We believe JUST SLEEP mattresses have significant sleep and health benefits, however, it is not a medical device. Please consult with your physician prior to the use of JUST SLEEP products and if you have persistent or recurring headaches, insomnia, stiffness, back, spine or neck pain, or any other medical conditions including but not limited to surgical or other procedures performed on or to the head, neck, spine, or shoulders that may or may not require medical attention, special sleeping supports, sterile covers, C-PAP, or any number of other appliances. Also, by the use of or purchasing JUST SLEEP products, you further agree that under no circumstances shall Hall Innovations, LLC or its Affiliates be liable for any direct, indirect, incidental, special, or consequential damages that result from the use of or inability to use the products or merchandise purchased from Hall Innovations. The foregoing limitation of liability shall apply whether in an action of contract, negligence, or other tortious action, even if an authorized representative of Hall Innovations knows or should have known of the possibility of such damages. By purchasing or using JUST SLEEP products, you hereby acknowledge that this paragraph shall apply to all products and merchandise available from Hall Innovations. Because some states do not allow the exclusion or limitation of liability for consequential or incidental damages, in such states liability is limited to the fullest extent permitted by law.

Additionally, nothing contained in the JUST SLEEP packaging, information or instructions for use is intended to be medical advice provided by either Dr. Raymond Hall, DC, Hall Innovations, LLC and/or any or all of its "Affiliates", i.e., it's employees, managers, agents, representatives, parent companies, subsidiaries or related entities, staff, representatives, or sales team affiliates. Neither Dr. Raymond Hall, DC, Hall Innovations, LLC or any of the aforementioned may be held responsible or liable for the diagnosis, treatment, advice or care of the consumer or any other parties as a result of such person’s purchase or use of JUST SLEEP products.


Challenges of pi in life of pi by yann martel

It was something that annoyed me from early on in the book — that the chapters seemed far too arbitrary and pointing it out at the end just made me more irritated.

My interpretation is that the tiger is actually God.

The film was a surprising success worldwide. Orange Juice, the peaceful orangutan, fights ferociously against the hyena. Administrative Staff Office Managers: Are you reading fluff but craving substance, or does your steady diet of Serious Literature have you yearning to lighten up a bit?

Teachers understand that all good writing begins with good research, involving the gathering and evaluating of data, and then organizing that research into digestible, easy-to-manage chunks.

Life of Pi

Teachers must also show comprehension of grammar, spelling, and vocabulary to effectively teach students how to write.

It gives life to all things.

But Christians will love it — oh yeah — Christians will definitely love it. Inhe was selected as a member of the main competition jury at the Cannes Film Festival. You may feel burdened by worry, fear, or doubt. For ideas on what books to read, check out my picks for the Reading Challenge.

This takes so long and is so incidental to the story and written in such a cutesy way that I started to pray the boat would sink, the tiger would get him … I would even have accepted God smiting him at this point as a valid plotting point, even if or particularly because it would bring the story to an abrupt end.

But after failing the exam twice, to the disappointment of his father, he entered a three-year college, the National Arts School now reorganized and expanded as National Taiwan University of Artsand graduated in But, at their behest, he then provides an alternative version that is more realistic but ultimately less appealing to both himself and his questioners.

Banff National Park Favourite Quote: There's a lot of talk in this country about the federal deficit. Dear reader, what do you want to be different in your reading life in ?

The 2017 Reading Challenge

We know reading is a very personal thing, and your reading list should reflect that. The success of Crouching Tiger demonstrated that Lee's artistry had a general appeal; it also inspired such established directors as Zhang Yimou and Chen Kaige to explore wuxia films for Western audiences.

During this time, he was a full-time house-husband, while his wife Jane Lin, a molecular biologistwas the sole breadwinner for the family of four. Angry, jealous, vicious, hard to appease, arbitrary and something that takes up lots of time when you have better things to do — sounds like God to me. After the setback, Lee considered retiring early, but his father encouraged him to continue making movies.

Brokeback Mountain[ edit ] Lee decided to take on a small-budget, low-profile independent film based on Annie Proulx 's Pulitzer Prize -finalist short story, Brokeback Mountain.

Pi Patel, lover of faith and various gods and their beliefs loses his family after a shipwreck and drifts on the Pacific Ocean with a zebra, hyena, orangutan and a tiger, Richard Parker each struggling in their own way to survive. The problem is how to remain artist once we grow up.Caruso "During empathy one is simply 'there for' the other individual, when experiencing their own feelings while listening to the other, i.e.

during sympathy, the listener pays attention to something about themselves, and is not 'there for' the client.".

“The Patriots is a historical romance in the old style: multigenerational, multi-narrative, intercontinental, laden with back stories and historical research, moving between scrupulous detail and sweeping panoramas, the first-person voice and a kaleidoscopic third, melodrama and satire, Cleveland in and Moscow in Ang Lee OBS (Chinese: 李安; pinyin: Lǐ Ān; born 23 October ) is a Taiwanese film director and screenwriter.

Lee's work is known for its emotional charge, which critics believe is responsible for his success in offsetting cultural barriers and achieving international recognition.

"After Rain" by William Trevor Trevor was born (in ) and brought up in rural Ireland but has lived in Devon, England since the s. Although he has written novels, he is best known for his short stories and he is widely regarded as one of the greatest contemporary. In the novel Life of Pi by Yann Martel, the motif of religion conveys the author’s message that with religion one can overcome any challenge.

One way the motif of religion is developed is through the element of detail in the novel. Teachers must instruct students about the reading process to ensure they develop more critical reading skills. This reading process involves gaining background information on a text, actually reading a text (which develops a basic understanding of material), and the re-reading of a.

Challenges of pi in life of pi by yann martel
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Page of

date: 10 December 2019

Summary and Keywords

A fundamental question in epistemological philosophy is whether reason may be based on a priori knowledge—that is, knowledge that precedes and which is independent of experience. In modern science, the concept of innateness has been associated with particular behaviors and types of knowledge, which supposedly have been present in the organism since birth (in fact, since fertilization)—prior to any sensory experience with the environment.

This line of investigation has been traditionally linked to two general types of qualities: the first consists of instinctive and inflexible reflexes, traits, and behaviors, which are apparent in survival, mating, and rearing activities. The other relates to language and cognition, with certain concepts, ideas, propositions, and particular ways of mental computation suggested to be part of one’s biological make-up. While both these types of innatism have a long history (e.g., debate by Plato and Descartes), some bias appears to exist in favor of claims for inherent behavioral traits, which are typically accepted when satisfactory empirical evidence is provided. One famous example is Lorenz’s demonstration of imprinting, a natural phenomenon that obeys a predetermined mechanism and schedule (incubator-hatched goslings imprinted on Lorenz’s boots, the first moving object they encountered). Likewise, there seems to be little controversy in regard to predetermined ways of organizing sensory information, as is the case with the detection and classification of shapes and colors by the mind.

In contrast, the idea that certain types of abstract knowledge may be part of an organism’s biological endowment (i.e., not learned) is typically met with a greater sense of skepticism. The most influential and controversial claim for such innate knowledge in modern science is Chomsky’s nativist theory of Universal Grammar in language, which aims to define the extent to which human languages can vary; and the famous Argument from the Poverty of the Stimulus. The main Chomskyan hypothesis is that all human beings share a preprogrammed linguistic infrastructure consisting of a finite set of general principles, which can generate (through combination or transformation) an infinite number of (only) grammatical sentences. Thus, the innate grammatical system constrains and structures the acquisition and use of all natural languages.

Keywords: nativism, empiricism, rationalism, behaviorism, development, maturation, cognition, learning, linguistic theories, language acquisition

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We conducted a detailed rock magnetic and mineralogical study of bole beds from the Deccan magmatic province, India. Magnetic susceptibility of 15 bole beds showed two contrasting patterns, with susceptibility values either increasing or decreasing up the profile. We then focused on two representatives red boles located in the Western Ghats, the RBB and RBAN profiles, to unravel the nature and origin of these contrasting magnetic susceptibility patterns. The presence of smectite argues against significant secondary thermal alterations. Major-elemental compositions obtained by X-ray fluorescence spectrometry of RBB and RBAN red boles are comparable to the parent basalt and show significant and typical depletion of mobile elements such as sodium and calcium compared to the parent basalt. The Ti/Al ratio of both the red boles and their overlying clay layers is close to the typical value of Deccan basalt (0.2), suggesting that the material of the red boles has been derived from weathering of the parent basalt. The chemical index of alteration varies from 40–50 in the parent basalt to 80–90 at the top of the bole beds, consistent with moderate to intense weathering of the bole beds. However, similar to other Deccan bole beds, indices of lateritization below 50 suggest that the state of lateritization has not been reached. Although the RBB and RBAN profiles share similar mineralogical signatures, their magnetic mineral assemblages are distinctly different. In the RBB profile, magnetic susceptibility decreases up-profile as a result of oxidation/dissolution of primary titanomagnetite inherited from the parent basalt, with subsequent formation of pedogenic hematite and superparamagnetic particles. In contrast, magnetic susceptibility in the RBAN profile, which contains magnetite, some hematite, and goethite, increases up-profile. The increase in the magnetic signal is mainly due to the increasing amounts of phyllosilicate and goethite, while the content of magnetite and hematite remains constant along the profile. We attribute the variation in the magnetic mineral assemblage to contrasting humid and dry environments during weathering, leading to the preferential formation of goethite or hematite, respectively. The combined mineralogical and rock magnetic data suggest the existence of a single weathering profile involving soil formation in the two studied red boles, with few or no contributions from an external source.

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A scanning electron microscope (SEM) is a type of electron microscope that produces images of a sample by scanning the surface with a focused beam of electrons. The electrons interact with atoms in the sample, producing various signals that contain information about the surface topography and composition of the sample. The electron beam is scanned in a raster scan pattern, and the position of the beam is combined with the detected signal to produce an image. SEM can achieve resolution better than 1 nanometer. Specimens are observed in high vacuum in conventional SEM, or in low vacuum or wet conditions in variable pressure or environmental SEM, and at a wide range of cryogenic or elevated temperatures with specialized instruments.[1]
Backscattered electrons (BSE) consist of high-energy electrons originating in the electron beam, that are reflected or back-scattered out of the specimen interaction volume by elastic scattering interactions with specimen atoms. Since heavy elements (high atomic number) backscatter electrons more strongly than light elements (low atomic number), and thus appear brighter in the image, BSEs are used to detect contrast between areas with different chemical compositions.[14] The Everhart-Thornley detector, which is normally positioned to one side of the specimen, is inefficient for the detection of backscattered electrons because few such electrons are emitted in the solid angle subtended by the detector, and because the positively biased detection grid has little ability to attract the higher energy BSE. Dedicated backscattered electron detectors are positioned above the sample in a "doughnut" type arrangement, concentric with the electron beam, maximizing the solid angle of collection. BSE detectors are usually either of scintillator or of semiconductor types. When all parts of the detector are used to collect electrons symmetrically about the beam, atomic number contrast is produced. However, strong topographic contrast is produced by collecting back-scattered electrons from one side above the specimen using an asymmetrical, directional BSE detector; the resulting contrast appears as illumination of the topography from that side. Semiconductor detectors can be made in radial segments that can be switched in or out to control the type of contrast produced and its directionality.
Sample preparation can be minimal or elaborate for SEM analysis, depending on the nature of the samples and the data required. Minimal preparation includes acquisition of a sample that will fit into the SEM chamber and some accommodation to prevent charge build-up on electrically insulating samples. Most electrically insulating samples are coated with a thin layer of conducting material, commonly carbon, gold, or some other metal or alloy. The choice of material for conductive coatings depends on the data to be acquired: carbon is most desirable if elemental analysis is a priority, while metal coatings are most effective for high resolution electron imaging applications. Alternatively, an electrically insulating sample can be examined without a conductive coating in an instrument capable of "low vacuum" operation.


1 removalist in Mount Vincent and surroundings

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[R-sig-ME] Plans for lme4-1.0

Douglas Bates bates at stat.wisc.edu
Sat Dec 13 20:23:21 CET 2008

The discussion of the quasi families in the thread "Re: [R-sig-ME]
single argument anova for GLMMs (really, glmer, or dispersion?)" has
helped to clarify my thinking about the types of models that I plan to
be able to fit in the 1.0 release of lme4.  I know this won't include
every model that users would like to be able to fit but I hope it will
include some useful models.  (Ben mentioned George Box's famous quote
about models.  The complete quote is "All models are wrong; some
models are useful.")

The model is defined by the conditional distribution of the response
given the random effects,  (Y|B=b) in my notation, and the
unconditional distribution of the random effects.  The
lmer/glmer/nlmer functions are based on a multivariate Gaussian
unconditional distribution of the random effects with E[B] = 0 and
Var(B) = \Sigma(\theta).  That is, the covariance matrix of the random
effects is a parameterized, positive semidefinite, symmetric matrix.
The parameters, \theta, determine the left Cholesky factor,
\Lambda(\theta), of \Sigma(\theta), for conditional distributions
without a common scale parameter, or \Sigma(\theta)/\sigma^2, for
conditional distributions, such as the Gaussian, with a common scale
parameter, \sigma.

The conditional distribution, (Y|B=b), must satisfy

 1) The scalar conditional distributions are independent and from the
same distribution family.

 2) The scalar conditional distributions are completely determined by
the conditional mean and, at most, one additional parameter which can
be expressed as a common scale parameter.

 3) The vector of conditional means, \mu, depends on b only through
the linear predictor \gamma = Z\beta+Xb

 4) The map from \gamma to \mu is multi-diagonal (explained below) and
can be expressed as

    \gamma -> \eta -> \mu

where \eta -> \mu is the vectorized inverse link function for a glm
family.  This is a diagonal map in the sense that the Jacobian matrix
for the map is diagonal because the i'th element of \mu depends only
on the i'th element of \eta.  Furthermore, the vector-valued link and
inverse link functions are based on a common scalar link or inverse
link.  (In other words, if you have a logit link for one element of
\mu, you must have the logit link for all elements of \mu.)

The map from \gamma to \eta has a similar property except that the
dimension of \gamma can be a multiple, s, of n, the dimension of \eta,
so the Jacobian matrix d\eta/d\gamma will be of dimension n by ns.
This matrix must be the horizontal concatenation of s diagonal
matrices and they must be generated by a single model function, m,
mapping an s-dimensional vector to a scalar.

The nonlinear model in nlmer defines the map from \gamma to \eta.  The
glm family defines the map from \eta to \mu and also defines the
conditional variance (up to a constant).  The conditional variance
determines the weights in the iteratively reweighted least squares

By factoring the model this way it is clear what information must be
evaluated and retained and how one would define a generalized
nonlinear mixed model, which I think will have widespread application
in psychometrics and other areas.

The map shown above takes b to \mu through \gamma and \eta and allows
us to evaluate the Jacobian of this map.  However, that is not the
full story.  We introduce another vector of random effects called U
with a spherical Gaussian marginal distribution.  That is, E[U] = 0
and Var(U) = \sigma^2 I (the name "spherical" comes from the fact that
the contours of constant density are spheres) and define B =
\Lambda(\theta) P' U where P is a fixed permutation matrix derived
from the pattern of nonzeros in Z.  P has no effect on the statistical
theory but is very important in the computation.

Now the effects of all the parameters in the model are incorporated
into the map from u to \mu and we can evaluate the conditional modes
of U and the conditional estimates of \beta and \sigma, given \theta
through a penalized iteratively reweighted least squares (PIRLS)
algorithm.  This, linear or nonlinear, weighted least squares problem
may involve a huge number of variables but the penalty part makes it a
very well conditioned problem.   Furthermore, the Jacobian matrix
d\mu/d u is very sparse.  This is where the sparse matrix methods come
in.  The sparse Cholesky factor of a matrix derived from d\mu/d u
provides the conditional covariance matrix for U given Y from which
the Laplace approximation to the deviance is derived.

Although this may seem like a very long-winded explanation (I seem to
be prone to offering long-winded explanations) the point that I want
to highlight is that the restrictions on the model form, in particular
the assumption of a Gaussian unconditional distribution for the random
effects, B, are not made frivolously.  This assumption is central to
the computational method using PIRLS.  In models with many random
effects in potentially complex structures you must be able to deal
with the random effects efficiently and the PIRLS algorithm combined
with sparse Cholesky factorization does that.

The code in the allcoef branch makes the central role of PIRLS more
explicit.  The name "allcoef" comes from the fact that all the
coefficients (u and \beta) in the linear predictor, \gamma = Z
\Lambda(\theta)P'u + X\beta, are optimized in the PIRLS step.  In the
currently released version of lme4 u and \beta are jointly optimized
for linear mixed models but only u is optimized in this step for
generalized linear mixed models and nonlinear mixed models.

It is still the case that only the brave or foolhardy should try the
code in that branch.  I'm gradually cleaning it up but there are still
many parts that are not working.  In particular mcmcsamp is not
currently working in that branch.  My goal is to get mcmcsamp stable
and to get all the other parts working in this branch then release it
for testing and finally release lme4-1.0.  The subtext in that message
is that only the models I describe above will be fit by the lme4-1.0


An autobiography came from the Greek word autos, which means self, bios, which means life, and graphein, which means to write. In a simple explanation, autobiography is when you learn how to write a life story about yourself. It is a narrative of your story, written in your voice, and seen in your perspective. If we’re talking about a company you should know that stories about company success are becoming more and more important today. To learn more about it go to corporate story biography writing.
Many people cannot resist the temptation to tell as much as they can, but a longer piece of writing doesn’t always equal a better piece of writing. For whatever reason you are writing the autobiography, think of the person who is going to read it. Imagine you were an admission officer or the judge in the scholarship committee, and you have to choose from hundreds, if not thousands, of autobiographies. At some point you will hate people who prefer to write long admission essays and autobiographies. There’s also a good way to check whether your writing is interesting or not. Give it to one of your most impatient friends, who prefers short articles to books and long stories, and ask for their opinion.

Today I am lucky. I came out of my routine, finding out solutions for mysilly problems. At this age, I am wasting my time, a large part of it, into finding solutions for unnecessary issues. Today I made my first positive step and came to this wonderful and resourful blog post. The post is humarous, real, motivational and touching. I will keep coming to this blogs daily and spend a couple of hours on similar blogs.

The autobiography is the longest and the fullest story about yourself. You can write it for your personal use in order to structure and perpetuate your memories. If you are sure that your life will be an interesting theme to read about, you may create an autobiography for the wider public. An autobiography covers the period from the day of your birth until today. If you think that your life journey will be a good example for others, include the information on how you have achieved your goals and success and how you got your autobiography published.
Writing an autobiography for a high school or a college English class can help you gain a deeper sense of personal identity. An autobiography allows you to tell your story in a way that reveals truths about your values, goals and dreams. Though there's no exact science to writing an autobiography, you should include information about your background, major events that shaped who you are and any core themes in your life. Include specific examples to help readers understand your life history.


Should Christians be capitalists?

Jay W. Richards answers common questions about money, greed, and God.

Many thought the debate of free market versus communism ended when the Soviet Union fell. The resurgence in communism’s popularity suggests otherwise, and many Christians are left wondering if communism aligns with Christian faith and if the free market is as savage as media and popular culture often assert.

Read on for key insights from Jay W. Richards’s Money, Greed and God.

We summarize the key ideas from new and noteworthy nonfiction. Join our free email list to get fresh insights sent directly to your inbox.

Even more than it’s maligned, the free market is misunderstood.

It’s not difficult to make a punching bag out of capitalism. Plenty of people make it the whipping boy for all of our social maladies. Volkswagen doctored emission reports. Apple schedules obsolescence of its devices so you have to buy newer, more expensive ones. Facebook doesn’t do a great job protecting its users’ privacy. Oil companies sully landscapes, disrupt ecosystems, and stall the development of alternative fuel sources.

Even if you chalk these claims up to media bias, we see the effects of the free market everywhere. We leave mortgaged or rented homes that we’ve furnished in our preferred ways, get into our cars, and drive to a job where we’re paid to provide goods and services for which others are willing to pay. All along the drive are billboards that blot the landscape and compete for our attention. Factories occasionally shut down, leaving hundreds or sometimes thousands of people jobless. Our bosses want wider profit margins. We carry our wallets with us everywhere. And who can resist poking around on Amazon when there’s a Prime deal?

The media’s frequent denouncements of capitalism are not surprising. But with growing frequency, Americans hear similar critiques from the pulpit. Pastors aren’t going out of their way to extol the calling to the business world, and parishioners feel caught between a rock and a hard place, wondering if their lives are dissonant with the gospel. Are they complicit in the corrupt system, even if they’re just trying to get by? Adding to the drama is the prosperity gospel, which equates the blessed life of a Christian with material enrichment. God wants us to be loaded, Joel Osteen and others tell their congregants. This, then, becomes particularly useful fodder for left-leaning Christians who equate capitalism with greed.

Understandably, this all leaves people wondering whether Christian faith and capitalism can coexist. After all, on the face of it, free markets seem at odds with Jesus’ warnings and indictments:

“You cannot serve both God and mammon.”

“Don’t store up for yourselves treasures on earth where moth and rust destroy and thieves break in and steal.”

Soviet defector Ayn Rand was a stalwart advocate of capitalism, but she also saw loving your neighbor as a slippery slope to communism. You couldn’t find a person more suspicious of altruism. It was in the 1980s, at the zenith of Ayn Rand’s heyday, that stock trader Ivan Boesky gave his infamous commencement address at Harvard, in which he called greed “healthy,” insisting that, “you can be greedy and still feel good about yourself.”

If this is capitalism, then it finds no home in the Christian faith. But free market principles are not inextricably linked to greed or consumerism and grinding down the poor. The free market economy leaves plenty of opportunity for generosity, the possibility of simplicity, and escape from poverty.

The term “capitalism” that Marx coined is too baggage-laden to try defending.

What do the words “Quaker,” “Christian,” and “Big Bang” all have in common? They were originally coined by their opposition, intended to be pejorative. The same is true of “capitalism,” a term that Karl Marx himself created.

If we really care about truth and justice, it makes sense to really understand economics rather than being content with just knocking down caricatures. More than deep feelings of concern or sympathy, this process of evaluation requires thinking. But those who dig might find, as the author did (once a socialist sympathizer) that the horrible images the word “capitalism” conjures are a far cry from basic free market economics.

Tacking on “ism” to the end of any word gives it an ideological flavor, which is something to be avoided, especially when talking about an economic system, which is just that: an economic system. It’s not an all-encompassing worldview, nor does it comprise the totality of the society.

It’s no use trying to reclaim a word like capitalism. Market economy, free market, and free enterprise are far better, more accurate terms.

The church in Acts 4 emerged from a very particular context and should not be taken as normative.

Acts 4:32-35

Some people read the story of the early church and wonder if Christian and Marxist ideals aren’t that different. While there might be some prima facie similarities, they are actually worlds apart. What’s glaringly absent from Luke’s narrative is talk of class warfare or insinuations that private property is evil. What was given was given freely.

Another significant difference is that the State is nowhere to be seen in the story. Nothing had been nationalized, nothing seized for redistributive purposes. It was the Church at work—not the State.

When the apostle Peter confronts Ananias and Sapphira, the grievance is not that they gave most of their money instead of all of it, but that they’d lied about how much they’d given. Peter even tells the couple that they had every right to keep their property and the proceeds from its sale. “Didn’t it belong to you before it was sold? And after it was sold, wasn’t the money at your disposal?”

It’s also important to bring in the historical context of the Acts 4 community. Their togetherness was the result of an extraordinary set of circumstances. The brand new community of believers was comprised of Jewish people who’d come to Jerusalem from all over the world. It was an experience born of necessity, as locals stepped in to support the process of teaching the new believers before they returned to their homelands. Maybe the community was together for half a year or more, but it wasn’t a sustainable endeavor, and possibly was never intended to be the new norm. After all, the apostle Paul later exhorts churches to “earn their own living” and that “anyone unwilling to work shouldn’t eat.”

Paul gives no indication that the post-Pentecost experience was one to be emulated everywhere. Some Christian groups over the centuries have continued the experiment of living communally. Most fall apart, and the ones that don’t (some monasteries, for example), are usually tiny and volunteer-based.

In fact, one such attempt was Plymouth Colony in Massachusetts in the early 1600s. William Bradford of Thanksgiving lore originally arranged for all the farmland held in common. Labor and food were distributed as evenly as possible, but then conflicts emerged. Bradford described in his journal what economists today call the “free-rider problem.” Animosity grew as the industrious settlers picked up the slack of those who didn’t contribute. Bradford reported that the matter was resolved when the farm was divvied up among the families. The surplus that had become a shortage during the communal farming days soon returned to a surplus.

Compared to a non-existent Utopia, capitalism definitely falls short.

There is a glaring gap between rhetoric and reality. When making the case for communism and socialism, there’s far more talk about potential future good than the unintended-but-very-real consequences repeatedly revealed in history when communism is attempted.

Compared to Nirvana, or some idealized but never-before-seen society, capitalism definitely misses the mark, but so will any other form of society when the standard of comparison is so high. If perfection is the expectation, working for wages begins to look like slavery and competition in a marketplace begins to look pretty Darwinian.

The United States definitely can’t compete with the kingdom of God, but that’s not the right question to be asking. On-the-ground societal realities should be compared to other on-the-ground societal realities. A fairer comparison than with Paradise would be with Cambodia, the Soviet Union, Venezuela, or North Korea.

In the twentieth century, communism’s track record is crystal clear:

65 million Chinese dead

20 million Russians and Eastern Europeans dead

2 million North Koreans dead

2 million Cambodians dead

150,000 Latin Americans dead

These deaths were not the result of wars with other nations. The regimes slaughtered their own citizens. As these experiments involving flesh-and-blood humans rather than abstractions have shown us, the cost of chasing a society that is perfectly equal is horrifyingly high.

Those who use the pie metaphor to explain the have-to-have-not ratios forget that the pie can grow.

What do we make of the fact that there are a few who have an unprecedented degree of wealth while others still live in poverty? Such observations elicit emotions ranging from white-hot indignation to a more staid, pious concern. Worrying, as one culture critic has pointed out, has become a chief virtue in the developed world. We feel better about ourselves when we feel bad.

Many Christians, too, view inequality as a telltale sign of a sick, morally bankrupt society. Why does poverty remain in a country so rich? Among many other Christian leaders, Jim Wallis, Pope Francis, and even Pope John Paul II, who was far from socialist, have criticized the free market and connected it to poverty. The axiom that many take for granted is that not only are there some super rich and others super poor, but that the rich are rich at the expense of the poor. The adage that, “The rich are getting richer and the poor are getting poorer,” plays on loop in news cycles and university classrooms, but that doesn’t make it any more true.

The pie analogy is often brought up to give concrete expression to the injustice of it all. A hefty portion of the pie is heaved onto the wealthy man’s plate. The remaining scraps are put on the poor man’s. The economy is far more dynamic than this analogy implies, however. Better approximating the true state of economic affairs would be a pie that’s able to shrink or grow over time.

The pie’s size is not static. Neither is the economy. Growth over time is possible and has been a consistent trend for hundreds of years now. This growth is not in spite of capitalism but because of capitalism. The free market economy has been the vehicle through which millions have been catapulted out of poverty. The zero-sum pie analogy can’t accommodate the possibility of wealth creation.

Wealth is not the problem—poverty is.

What do we mean when we use the word “poverty”? One important distinction that is often overlooked in the rhetoric is relative poverty versus absolute poverty. Elon Musk, for example, makes far more than most of us. We’re relatively poor compared to Musk, and yet most of us have enough and maybe even more than enough.

Those Americans who are considered poor today are fabulously rich compared to most people throughout history and most people in the world today. As of 2011, the US Census Bureau found that of the 30 million citizens considered poor, the typical household had a car, air-conditioning, two TVs, cable and/or satellite. The majority were not hungry, had access to medical attention as needed, and had more living space than many middle class Europeans.

The typical American living in poverty is in a very different position than someone experiencing absolute poverty, where people’s basic needs like shelter, food, or clothing are not satisfied.

In the early 2000s, the United Nations, World Vision, and other organizations compiled some staggering statistics, like 1 billion people living on less than a dollar a day, and 2.8 billion people living on less than two dollars a day. Another statistic frequently brought up was that the three wealthiest people control more wealth than 600 million of the poorest poor. What does a figure like this imply? What’s not said, but what many people read into this statement, is that Bill Gates should not have that much money, that if he weren’t so loaded, the 600 million wouldn’t be as destitute, or even that Gates is swiping money from the world’s poor.

If we have the means to alleviate absolute poverty, we should definitely do something. But most of the rhetoric about gaps reveals ignorance about basic economics. Chasing gaps is like chasing ghosts. The gap rhetoric is a distraction from 1) the vast improvements over the last 150 years and even just the past decade, and 2) from the truly needy, and absolutely impoverished. Just because a gap has widened doesn’t mean that the poor have become poorer; it could be an indication that wealth for all has risen and that rich and poor alike have grown wealthier—even if at differing rates.

Absolute poverty is on its way to being eradicated. In 1970, 38 percent of the world lived in absolute poverty. In 1990, that number was down to 26 percent. In 2019, the absolute poor numbered 750 million, which is a lot, but proportionally, is less than 10 percent of the world’s population. 200 years ago, you couldn’t find close to 10 percent who weren’t living in absolute poverty. The World Bank predicts that absolute poverty will drop to zero percent by 2030.

So the real shock is not that there is a gap between rich and poor. For a long time almost everyone was poor. What is shocking is how many people have risen out of absolute poverty in just a few centuries. Wealth is not the problem—poverty is. And in the places where it still exists and cripples, the best hope for them is wealth creation—not decrying the gap. The gap is a decoy that gives us an opportunity to feel better about ourselves by showing outrage, but it will fail to help the poor.

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In landers06 's collection
Quimby the mouse by Chris Ware - Sketch

Quimby the mouse

About Chris Ware

Franklin Christenson "Chris" Ware (born December 28, 1967), is an American cartoonist known for his Acme Novelty Library series (begun 1994) and the graphic novels Jimmy Corrigan, the Smartest Kid on Earth (2000) and Building Stories (2012). His works explore themes of social isolation, emotional torment and depression. He tends to use a vivid color palette and realistic, meticulous detail. His lettering and images are often elaborate and sometimes evoke the ragtime era or another early 20th-century American design style. Ware often refers to himself in the publicity for his work in self-effacing, even withering tones. He is considered by some critics and fellow notable illustrators and writers, such as Dave Eggers, to be among the best currently working in the medium

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